Qué pintaza tiene Ya veremos lo que cuenta, pero solo como experiencia audiovisual ya bien merece ir al cine.
Qué pintaza tiene Ya veremos lo que cuenta, pero solo como experiencia audiovisual ya bien merece ir al cine.
Venía a compartir el reportaje, pero veo que ya lo han hecho.
Yo destaco que después de afirmar que lleva toda su vida dándole vueltas al proyecto se lanzó al rodaje y seguía improvisando guion y fórmulas narrativas, trayendo de cabeza a todo el equipo implicado, muchos largándose y otros siendo despedidos por discrepancias. Pero no sería la primera gran película que sale de un rodaje improvisado y loco, como la propia Apocalypse Now o Gladiator de Ridley.
Los que la han visto oscilan entre "parida infumable" y "genialidad".
El trailer es fascinante en lo visual, pero eso no lo es todo. Yo no voy a apostar en ningún sentido, espero hasta verla.
Por eso dije "si la película está a la altura en narrativa e historia", compañero. Por otro lado, si alguien es capaz de haberlo conseguido (parir una maravilla), es Coppola, quien se ha caído y levantado muchas veces artísticamente hablando.
Por último, quienes la califican de basura infumable son representantes de los grandes estudios, ejecutivos, mientras que quienes opinan que es una genialidad son otros cineastas y actores. Esto para mí es muy significativo.
Pero bueno, mañana es la prueba de fuego. La audiencia de Cannes es mucho más grande y diversa (gente y prensa de todas partes del mundo), que la de los dos pases privados -en Nueva York y Londres-.
La pregunta que yo me hago ahora es: ¿Tendrá posibilidades reales de ganar la Palma de Oro?.
PD: Desconocía lo de Gladiator, compañero. ¿Qué paso?.
PD2: En Drácula Coppola también despidió al equipo de arte y efectos visuales... para luego contratar a su hijo Roman para que se encargase de dichos efectos... y ya de pasó lo nombró director de segunda unidad del film así, por sus santos cojones. O sea que nada nuevo.
Última edición por Branagh/Doyle; 15/05/2024 a las 10:31 Razón: Errata
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Se comenta que el trailer lo ha hecho/subido el mismo (de hecho la subida original en inglés es a su propio canal de Youtube), y ya están diciendo que tener las santas cachazas de poner " Disfrutala en Imax" y "estreno este año" es tener muy poca vergüenza teniendo en cuenta que no tiene distribuidor todavía (en USA).
Así que veremos si no se mete en problemas.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
No por nada Coppola fue alumno del recientemente fallecido Roger Corman, que metía en los trailers incluso imágenes que ni eran de la peli en cuestión con tal de poderla vender
Última edición por Nabocho; 15/05/2024 a las 11:48
I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)
Peinabombillas
Del it. peinar, bombilla.
1. adj. Dícese de aquel hombre que realiza actividades absurdas o faltas de razonamiento.
2. adj. coloq. Dicho de una persona: Que se comporta de forma similar o que evoca al cineasta James Gunn.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Es interesante todo esto. Parece ser que no puedes poner "Vedla en Imax" en un trailer si no tienes un acuerdo de exhibición con salas IMAX. Debe haber algo que se nos escapa. Quizá lo sepamos en los próximos días...
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Obviando lo impecable que parece el aspecto técnico, no se puede negar que en el teaser se ver personalidad, lo que hoy en día es mucho. Parece que Coppola ha querido crear el mundo y la historia que llevaba décadas deseando hacer, y ha querido hacerlo sin injerencias ni limitaciones artísticas, por lo que ha tenido que esperar a estar de vuelta de todo y tener el dinero necesario.
Al final la película oscilará entre la obra maestra genial y el bodrio más infumable, y todos los puntos intermedios. Pero que va a ser una película personal y diferente, queda claro en el teaser. Incluso si en lugar de una maravilla atípica como Arrival o Green Knight, acabara siendo un bodrio pretencioso como Tree of Life, Black Swan, o cualquier cosa de Aronofski, yo no le voy a negar la intención... El que no pone el escroto encima de la mesa no puede ser admirado por sus criadillas (ni se arriesga a un martillazo testicular, obviamente).
Peinabombillas
Del it. peinar, bombilla.
1. adj. Dícese de aquel hombre que realiza actividades absurdas o faltas de razonamiento.
2. adj. coloq. Dicho de una persona: Que se comporta de forma similar o que evoca al cineasta James Gunn.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
El caso es que la historia es preciosa (de esas que al acabar te dejan sonriendo como un idiota), accesible y muy clásica (así como un repelente muy potente para cínicos, misántropos, desencantados y demás) pero claro, todo depende de como lo haya rodado.
Lo que se me ocurre que puede echar para atrás al público general son dos cosas: el sexo más o menos explicito , y que haya segmentos hablados en latín. Pero por lo demás, entiendo perfectamente que Coppola la vea como una obra que puede llegar al público masivo (con interés por el cine, eso si).
No es una peli de arte y ensayo.
Última edición por Branagh/Doyle; 15/05/2024 a las 17:11
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Francis Ford Coppola es acusado de realizar comportamientos inapropiados durante el rodaje de Megalópolis
Info: https://www.hobbyconsolas.com/notici...opolis-1386511
Lo puse arriba, compa. Pero gracias por enlazarlo en castellano.
No hay reportes de mujeres del set (actrices), aclaro, es alguien a quién no le pareció bien como estaba Coppola tocando e interactuando con chicas jovenes durante la filmación de una escena festiva. Y ese alguien se lo hizo saber a los medios.
Pero lógicamente si no hay reportes directos (allegations), pues nada de nada. Humo.
Llevan los ultimos meses con Coppola que es que se nota descaradamente que van a por el, pero de manera brutal. Es lógico. Si le sale bien, esta película es una amenaza al status quo, un misil en la línea de flotación.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Un testigo anónimo, dice...
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Me encanta.
Le denuncian por ser un "tirano" en un proyecto titulado MEGALOPOLIS.
Las piezas encajan, como debe ser.
[I]"Coppola made life even harder for himself: “When he arrived in Atlanta, he was looking for accommodation for his extended family and he wasn’t finding anything he particularly liked. So he bought a drive-in motel which had just closed, and decided to renovate it. So all the way through the shoot, he lived there. The construction noise started at six in the morning.” When Figgis (who opted to stay in a different hotel) asked Coppola how he handled it all, “He said, ‘Look, it’s all the same thing. Movie business, construction business: it’s telling people what you want, and making sure they do it.’”[/I]
“I think Coppola still lives in this world where, as an auteur, you’re the only one who knows what’s happening, and everybody else is there just to do what he asks them to do,”
Adam Driver’s first day on set was particularly memorable, a source suggests. One aspect of the story involves Driver’s character’s body fusing with some futuristic organic material. Rather than using digital techniques, Coppola wanted to achieve the effect through old-school methods, using projectors and mirrors, much as he had done on Dracula, 30 years earlier. “That’s great, except nobody can move,” says the crew member. “So they basically strapped Adam Driver into a chair for six hours, and they literally took a $100 projector and projected an image on the side of his head. I’m all for experimentation, but this is really what you want to do the first day with your $10m actor?” The effect would have been quick and easy to create digitally, they say. “So he [Coppola] spends literally half of a day on what could have been done in 10 minutes.”
The virtual “volume” was abandoned in favour of more traditional “green screen” technology”, according to one source: “His dig at us was always, ‘I don’t want to make a Marvel movie,’ but at the end of the day, that’s what he ended up shooting.”
Es brutal. Brutal...
Última edición por Branagh/Doyle; 15/05/2024 a las 19:04
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Te lo dice el tío de "The Godfather".“He said, ‘Look, it’s all the same thing. Movie business, construction business: it’s telling people what you want, and making sure they do it.’”
Movie business... construction business... pintar casas... todo es lo mismo.
El puto amo.
Última edición por repopo; 15/05/2024 a las 19:07
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Sería bonito que hiciesen por premiarle como último homenaje y reconocimiento. Pero últimamente hemos podido comprobar que a los que dan los premios no se les ablanda el corazón lo más mínimo a la hora de ignorar a viejas leyendas, ahí están como prueba el desprecio a Scorsese en los últimos oscars o Erice en los Goya.
There may be certain messages in the movie that would "alienate" American audiences, hence the distribution issues in the U.S. I was an extra for the movie and there were certain political things that may be controversial, especially because of the antagonist.
Interesante...
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.